“Once you are real, you can never be ugly except to those who don’t understand.” B. L. Sherrington reviews the Unicorn Theatre’s staging of The Velveteen Rabbit.
A much more exciting party: Holly O’Mahony swims in the undercurrents of Bill Rosenfield’s transferred two-hander.
David Hare might hate it, but he’d be wrong: Sally Hales exalts in Declan Donnellan’s directorial vision for this problematic play.
Sunny side up: Holly O’Mahony contemplates 42nd Street’s escapism amid 2017’s political turbulence.
A divine and dirty awakening: Brendan Macdonald reviews the gospel according to Lucy McCormick
The yes-no of it: Corrie Tan reviews Nina Raine’s “exquisitely devastating” new play.
Fergus Morgan attends Paul Mason’s attempt to explain the state of the world in 2011-2017, but leaves with as many questions as answers.
Familiar territory revisited with humour and pathos: Laura Gilbert reviews Ian Hislop and Nick Newman’s play about a satirical newspaper in WWI.
An absolute bastard, but a charming one: Eleanor Turney reviews David Tennant in Patrick Marber’s update of Molière.
Raw and new and believable: Rafaella Marcus and David Ralf team up to produce a long-form review of Ivo van Hove’s six-hour Roman Tragedies.
Caught between a weighty Rattigan drama and a fizzy feel-good farce: Brendan Macdonald reviews Trevor Nunn’s combining of Less than Kind and Love in Idleness.
“The artifice of attempting to recreate a life is laid bare” in Simon McBurney’s staging of Robert Evans’ biography. Review by Holly Williams.
A musical for ballet fans: Rosemary Waugh reviews the London premiere of An American In Paris.
From ‘anarcho-punk ballet’ onwards: Ka Bradley reviews a double bill from Julie Cunningham and Company.
When Harry met Daniel met Tom: Rosemary Waugh reviews the 50th anniversary production of Tom Stoppard’s riff on Hamlet.